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The American government has adopted a no-tolerance approach to Iraq following UN inspectors' entrance into Iraq on November 17. As this Iraqi show of compliance with the United Nations and the United States of America occurred the US simultaneously attacked Iraqi air defence targets. This is apparently in response to what the American military claimed were attempts to shoot down their planes. In attacking air defence targets the Bush administration is only taunting Iraq further at a time where the possibility for peaceful relations between Iraq and The US should be re-examined. Such anger provoking acts such as bombing a sovereign country's air defence targets can only initiate further tension in an already tense situation.

The Iraqi decision to accept the UN into their borders clearly represents a break through in the situation, which many feared could only lead to war. The US administration however, continues to provoke Iraq arrogantly announcing that with or without UN support Iraqi president Suddan Hussiem will be disarmed if every detail of the UN resolution is not complied with. This only serves to further increase the resentment directed toward the US from not only Suddam Hussien's regime, but also from the Iraqi people who feel violated by the US's infringement upon their sovereignty. This is the population ravaged by war and oppression that the United States is supposedly attempting to "save' and in doing so is disillusioning.

President Bush in verbalizing his questionable intentions to attack Iraq regardless of foreign support is reinstating the international opinion of the United States that she is a self serving nation with little to no consideration for the smaller nations in which the world is composed of. Actions, which reflect beliefs of superiority, are generally accepted with hostility by Middle Eastern nations who are already placed in a compromising situation concerning their loyalty. And it is precisely the Middle Eastern countries support, which is crucial to the US strong front against weapons of mass destruction. In alienating nations who may appear inferior, the Bush administration is in fact shooting itself in the foot concerning the success of the disarmament of Iraq, as the US relies greatly these nations approval of US infringement upon their air space.

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The verdict on whether, the United States of America will in fact get her war has yet to be seen. However, with the government behaving like a schoolyard bully, and foreign relations dwindling, not to mention a weakening economy, the United States of America does not require an attack of a nuclear bomb, to cause catastrophic damage to the country. The Bush administration is causing enough damage to the United States of America all on its own.

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Our staff of freelance writers includes over 120 experts proficient in Diego Rivera Research Paper, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Diego Rivera Research Paper paper at affordable prices ! Although Diego Rivera was a Mexican painter, influenced much by his historical roots in Mexico, his contributions to American society throughout the first half of the twentieth century were great. Rivera wanted his art to influence the world enough to change it (Howlett 0). During an era of revolutions in both politics and technology, Rivera was one of the many inspired to create work that was socially radical at the time (Stevens 7). His views of support for Communism, his outlook on Capitalism, and his portrayals of the industrial revolution around the world caught the attention and eyes of entire nations. "Rivera's work seemed like it was leading directly to today's cultural wars" (Aguilar 6). Throughout the early 100's, Rivera had become an icon for cultural transactions between North and Central America (Hughes 78). His controversial art helped open the minds of Americans to be more culturally diverse and help see the different opinions and aspects to the world. When portraying himself, Rivera always painting himself realistically with harsh honesty in all of his self-portraits (Howlett ). He sought to capture the aura of a subject, concentrating on the unique physical features of an individual (Howlett ). Over his time as a muralist, Rivera's style had changed. From Mexico's realistic, pre-Colombian work (Mujica 0) to abstract modernism learned over in Europe (Howlett 1), Rivera's signature style was his mastered displays of form and composition, as well as a large concern for texture and his usage of vibrant, contrasting colors (Mujica ). However, no matter his style, Rivera always managed to incorporate either his political views and stand points or his Mexican background into his work, even if his political views were controversial to the point of igniting riots and harsh criticism around the world. Rivera's importance was great, and not just to America, but to many other world countries as well. In America, he was a strong, forceful voice in the fight supporting both Communism and Capitalism (Goldstein 50). Through his life, his works have become known worldwide. Diego Rivera's painting, Man at the Crossroads, reflects his strong stance in standing up for ones beliefs in a style of Latin American Modernism at the high times of Mexican Muralism and the Mexican Renaissance.

Diego Maria Rivera was born in Guanajuanto, Mexico on December 8, 1886 (Cockcroft 5). After moving to Mexico City in 18, Rivera took up evening art classes at the San Carlos Academy when he turned ten years old in 186. "In 188, he enrolled there as a full time student, and in 106, at the annual show, he exhibited for the first time with 6 works. Thus at age twenty, Diego Rivera was established as a painter" (Neimark, 64). Rivera's father worked as a municipal councellor in Guanajuanto, and was a liberal and anticlerical man while his two aunts were quite religious. "However, Rivera was more interested in the dealings of military issues, especially fascinated with the articulation of the Russian army and the conflicts it was involved in the Tsar and the Orthodox Church versus Marxist Revolutionaries" (Neimark 64).

In 107, Diego got a travel grant and traveled to Europe to study different styles of art and gain more experience in the field of mural painting, a well as to regain his artistic independence he was losing in Mexico (Lynch ). It was here where he studied Renaissance Frescoes (Mujica ) under the close eye of mentor and well-known painter Pablo Picasso and met Angelina Belhoff, who became his wife of the following twelve years (Howlett 1). Rivera's first child was conceived with Beloff, but a child wasn't in the cards as Beloff miscarried the following winter (Tardiff 741). "In 11, Rivera embraced Cubism, a movement created by Picasso and Braque, two of his artistic role models. He jointed their movement not for what it idolized, but more for what it rejected � Cubism seemed to him "the most violent reaction to academic painting'" (Lynch 5). His art began to veer away from Mexican realism and more towards abstract modernism, a style that focused on geometric structures and powerful compositional lines (Mujica ). They were far outstanding from the academic naturalism he studied in Mexico, a style that much embraced the ideals of Cubism (Mujica ). His human forms became more geometrically and abstract, becoming dehumanizing in a sense (Mujica 8). Up until now, Rivera's work was devoted to the glorification and beautification of the common, everyday man (Mujica 0). However, this was all changing now along with his artistic styles. When World War I broke out in Europe, it was here in time when Rivera began to morph into a revolutionary himself. Feeling needed by his country, Rivera returned to Mexico and his art changed a bit back towards a realistic style, more of how he originally painted (Goldstein 4). He decided to make an art for the people and of the people (Neimark 68).

In the very late 110's, Rivera became much more politically opinionated. In 10, Rivera was arrested in a riot rebelling against Mexican President Porfirio Diaz (Tardiff 741). In 1, Rivera joined the Mexican Communist Party, his vision now more politically focused and dynamically rebellious (Mujica 0). "Rivera's communist views and beliefs, opposing Stalin's totalitarianism, led him to be a somewhat spokesman for the persecuted, oppressed, and the outcasted" (Goldstein 50). In the late 10's, Rivera was expelled from the Mexican Communist Party because of his opposition to Stalin's harsh discipline, knowing of his dealings with the Soviet Union and the limits pressed upon artists in Communist countries (Goldstein 50). Rivera's art began to strongly express his Communism views. Charges of Communist content, sacrilegious subjects, and the unsuitability of the industrial subject for a museum environment were brought up against him (Helms 85). "Later down the road, as World War II was underway, Rivera hard learned about a ship that was helping out Nazi submarines that were going to be landing hometown Mexico. He immediately informed the countries' proper authorities and the U.S. Military joined up with the Mexican military in sending out a crew to chase the ship away. It was successful and Rivera was given a citation of merit by U.S. President Roosevelt" (Tardiff 74).

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Rivera's style is best termed as New Realism because it is far removed from the academic, Old World naturalism (Neimark 68). "He adopted a symbolic-representational style and a large scale mural format. The densely packed murals are almost montages of fragmentary figures and symbolic elements located within fictive spaces" (Neimark 6). The figures may have been simplified, but there is nothing simple about his complex compositions that are overwhelming to the eye, both visually and in terms of their social impact on society at the time (Neimark 6). Rivera's murals at the Detriot Institute of Arts were painted with the 15th century Italian style technique called fresco, which is a method of applying paint directly to a wet plaster surface so that the work is permanently scarred onto the wall (Howlett 6). The project, designed to show the progress of man throughout time, fit perfect into Rivera's style of a montage-like mural form. The murals received more than 86,000 visitors in the first month of its debut alone (Helms 85). At the end of the decade, Rivera was awarded the Fine Arts Gold Medal by the American Institution of Architects for Rivera's growing work in the United States (Helms 70). However, happiness of receiving this award was short lived � in 10, the conservative administration of the National School of Architecture and others had started a campaign for Rivera's removal as director of the Academy of San Carlos, the same school he started out at as a young painter (Cockcroft 81).

In 1, Rivera met and married Mexican surrealist Frida Kahlo (Tardiff 741). The two had a very rocky relationship, their marriage enduring mutual infidelity, bad health, and extensive and tiring world travel (Tardiff 74). At the end of the 10's, the two separated and divorced briefly before getting back together and remarrying (Helms ). In 155, following the death of Kahlo, Rivera announced to the public that he was battling cancer (Neimark 10). In 157, Rivera was disabled from painting when a blood clot developed in his right arm (Tardiff 74). On November 7, 157, Diego Rivera died (Tardiff 74). Thousands from around the world attended Rivera's cremation ceremony as the Mexican government decreed that his ashes be placed next to other Mexican heroes at the Rotunda de los Hombres Ilustres (Tardiff 74).

In 1, Diego had started work on what is believed to be his most controversial piece entitled Man at the Crossroads. The Rockefeller family in New York had hired Diego Rivera to compose a mural in Radio City at the Rockefeller Center in New York City (Goldstein 50). Problems and conflict arose when a portrait of John Lenin, the first leader of the Communist-supporting Soviet Union, appeared in the mural (Goldstein 50). Riots and protests were high in tow as the Rockefeller family ordered Rivera to remove that piece from his mural (Goldstein 50). When Rivera refused, the mural was chipped off the wall and destroyed (Goldstein 50). However, Rivera was determined to complete the mural, but obviously in a different place. (Goldstein 50). After completing his murals at the New Workers School, which included the famous Workers of the World Unite panel, Rivera left the United States and returned once again to Mexico (Neimark 66). There, at the Palace of Fine Arts in Mexico City, he composed a new version of the Crossroads mural, now entitled Man, Controller of the Universe (Goldstein 50). Both works are labeled as having a Latin American Modernism context, the paintings both taking place in the movement of Mexican Muralism, the medium titled as fresco (Neimark 6).

Diego Rivera's painting, Man at the Crossroads, reflects his strong stance in standing up for ones beliefs in a style of Latin American Modernism at the high times of Mexican Muralism and the Mexican Renaissance. Rivera never had a committed set style of art as his studies varied through the years, scaling between realist and abstract, modern and Picasso-signature style. His acute personal melodrama concerning his extra-marital status and his controversial beliefs dealing in politics made him one of the most fascinating painters of the twentieth century. Rivera's work, brilliant in the eyes of many while insane in the eyes of others, has definitely left its mark on both American and Mexican society and culture, as well as the rest of the world nations across.

Works Cited

Aguilar, Louis. "Diego Rivera's Revolution." Hispanic. July/August 1 6-40.

Bongartz, Roy. "Who was this man?". American Heritage. 17 14-0.

Cockcroft, James. Diego Rivera Hispanics of Achievement. NY Chelsea House

Publishers, 11.

Goldstein, Ernest. The Journey of Diego Rivera. Minnesota Lerner Publishing

Company, 16.

Helms, Cynthia Newman, ed. Diego Rivera A Retrospective. London W.W. Norton

and Company, 186.

Howlett, Margaret, ed. Art Scholastic. New York March 1.

Hughes, Robert. "The Tintoretb of the Peons". TIME. June 186 78-7.

Lynch, James B. "Rivera in Paris". Americas. Nov/Dec. 17 0-6.

Mujica, Barbara Louise. "A Turning Point in Modernism". Americas. 1 7-0.

Neimark, Anne E. Diego Rivera Artist of the People. New York Harper Collins

Publishers, 1.

Stevens, Mark. "Playing to the Public". Newsweek. March 186 7-7.

Tardiff, Joesph C. and Linda, Mabunda, eds. "Diego Rivera Mexican Painter".

Dictionary of Hispanic Biography. Gale Res Inc., 16 740-74.

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1. Ben making a burial place for the baby Ben made a burial place for Maria's baby just in case it doesn't live when she gives birth. Meg thought this was very mean of Ben for having such a pessimistic attitude about the birth. Ben said that sometimes things go wrong and the newborn dies. I think Ben is right; something could go wrong and by giving birth at home, without the aid of doctors and nurses, the chances increase for problems. They may have had books to go by, but books don't tell you everything a person needs to know about giving birth. Ben and Maria will be lucky if nothing goes wrong during her birth.

. Meg had two dreams about Molly and herself while living in the summer house. The first dream Molly wasn't sick, and Molly and Meg were running through a field. Molly was ahead and Meg couldn't keep up (like always). The second dream Molly was sick and they were running through the same field, this time Meg was ahead. Molly was behind and couldn't keep up. She kept falling behind. The dreams meant Molly used to be healthy and now Molly's sick. Molly will soon be gone because she is becoming sicker by the minute. The more Molly falls behind the more she will never be able to catch up. Soon Meg will be so far ahead she will never see her sister because Molly is so far behind. As the mother said, "Dreams come out of what is reality." I think that is a true statement. These dreams Meg had are true about Molly. Even though there isn't a cure that could save Molly, the doctors could still try to make Meg's dreams a little less true.

. The saying "Margaret you mourn for" Will said the saying, "Margaret you mourn for." When someone else is sick and dying you think you mourn for them, but you really mourn for yourself. Meg mourned for Molly since she was sick, but Will said Meg really mourned for herself. Will's wife, Margaret, died, Will thought he mourned for Margaret. Will read a poem and a line in the poem was "Margaret you mourn for". After Will read this he understood that he mourned for himself and not his wife since he lost her. Will was right because you really do mourn for yourself. When someone dies you mourn for yourself because you don't have that person to love and be with any more. I learned that when someone dies, sometimes it might be the best thing for that person especially if they are sick and in a lot of pain. I think the saying means you mourn for yourself because you're still in this cruel world without your loved one and the person who died is now in heaven.

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4. Ben and Maria having the baby There was one death in the book, and then a birth was going to happen. The author may have been trying to show the differences and similarities in life and death. A birth is an exciting and happy event in your life. I think births are really special because it is the start of a new life. I think the book made birth sound like it was the most traumatic event of your life.

5. The family moving into the summerhouse the family moved into the new house only for the summer so the dad could finish his book. During the summer many things began and were accomplished. The mom started and finished her quilt and the dad started and finished his book. Molly may not have started her life in the house, but she finished it there. Molly learned she had leukemia while staying here. Ben and Maria's baby was born in this house. That summer was to die for. I think these events made the house a special place for the family. The girls didn't like the house at first but began to like it. They even wanted to go back next summer because the house was so special to them.

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In Wuthering Heights Catherine can often be seen to be portraying two different characters, and it is for this reason that she is referred to as having a "double character". In this essay it will be examined as to when this is the case, and possibly give explanation as to why she has developed them.

Wuthering Heights is seen to be very hypocritical of the social conventions around the Victorian Era, the time when it was written. Bronte pays particular attention throughout the novel to the stigmas which surrounded males and more significantly females, in the way in which they were expected to look and act. In Victorian times, the women were repressed and often seen to be kept by their husbands, a theory which Catherine, and also Emily Bronte did not completely agree with or accept.

In chapter 8 where Catherine is referred to as having a double character, Nelly Dean narrates that Catherine would almost change her personality depending on the company she was keeping. When at home at Wuthering Heights, she was,

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"the queen of the countryside she took no peer and she did turn out to be a naughty, headstrong creature"

This was unheard of at the time, and in most cases would have been suppressed at an early age, had she not had,

"the bonniest eye, and sweetest smile, and lightest foot in the parish, and after all, I believe she meant no harm"

Chapter 5 is significant in the way in which it shows Catherine, even though rebellious, to be a genuine character, who doesn't let any stereotypes restrict her from doing as she pleases. She plays in the fields with Heathcliff, by doing so breaking all female conventions at the time. When Cathys father Earnshaw is near death, her character remains "bold and saucy, still defying us with her ready words". When Earnshaw questions her defiance of femininity,

"why canst thou not always be a good lass Cathy?"

she yet again allows her rebellious nature to show,

"why cannot you always be a good man, Father?"

This is also an accurate example of the traditions and acceptable behaviour seen in the Victorian times. By "good lass" Earnshaw could also be referring to not just her mean streak, but her refusal to conform to the female conventions.

In chapter 7 however, Catherine, who had been residing at Thrushcross Grange whist her ankle healed, was seen to turn into a lady, "her manners much improved"

"with fine clothes and flattery, which she took so readily, so that instead of a wild hatless little savage jumping into the house, there lighted from a handsome black pony a dignified person with ringlets falling from the cover of a feathered beaver"

This perhaps is the first time at which we are aware of the so called double character. She is almost seen to be on show at T.G. , where she is not among her family and therefore feels that she must act more feminine than she has done up to this point. However, as soon as she is reintroduced to Heathcliff, when she returned to Wuthering Heights, we see a temporary revert to her former self,

"catching glimpse of her friend in his concealment, flew to embrace him, so bestowed seven or eight kisses on his cheek"

This is the first occasion when we realise that her reformed, mature and ladylike character is only used when required, and that it changes as and when is necessary. However, this chapter is seen to be a change, marking the end of what Heathcliff and Cathy used to have, and idealist world where they had solely each other. This is because Cathy has no moved partly into a different social sphere, which regrettably Heathcliff cannot follow.

Catherines double character is very obvious in this chapter as it encaptures both parts of the life which Catherine so eagerly wants to live. Her desire to inhabit two worlds, the moors and the wilderness with Heathcliff, and the parlour and elegant lifestyle with Edgar Linton shows her double character, as neither life is similar.

However, in the next chapters, we see the two characters nearly cross. Whilst preparing for a visit from Edgar, Heathcliff mocks her dressing up,

"why have you got that silly frock on then?"

And when Edgar arrives, though Heathcliff leaves, Nelly Dean stays on as chaperone, much to Catherines annoyance. She then,

"supposing Edgar couldn't see her, snatched the cloth from my (Nellys) hand and pinched her, with a prolonged wrench, very spitefully on the arm"

When Nelly tells Edgar, Cathy hastily denies it, "I didn't touch you, you lying creature"

Therefore trying to conceal her other self, which some might argue is her true character. They manipulative way in which she pinches Nelly echoes this. Cathy later sums up this with her reference of her own blood being hotter than Edgars, referring to a difference in their personalities, hot and cold.

In conclusion, Cathy does portray a double character to suit two very different existences. One is for Edgar, who by being with conforms with all the Victorian ideas, restricting her in thought and deed, and the other for the love of Heathcliff, her natural self in which conformity is not even a thought, in which two people with such a bond can be together regardless of circumstances and social conventions

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Our staff of freelance writers includes over 120 experts proficient in the adventures of huclberry finn, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your the adventures of huclberry finn paper at affordable prices ! While the boys are sneaking away, Huck trips over a root and makes noise when he falls. Miss Watsons slave Jim hears the sound and comes outside to look around. Jim sits down right between where Huck and Tom are hiding and decides to wait until he catches them. However, he soon gets tired and falls asleep against a tree.

Tom then wants to play a trick on Jim. He and Huck climb into the house and steal three candles, for which they leaves a nickel as pay. Then Tom quietly makes his way to Jim, takes off Jims hat, and places it on a tree branch above Jims head. He soon returns and tells Huck what he did.

After Jim woke up he thought he had been bewitched, and he always kept the nickel as a token around his neck after that. According to Huck, Jim used to tell all the other slaves that he had been ridden around the world by some witches, and that the nickel was given to him as a token by the devil.

Tom and Huck sneak down to the river and meet some of the other boys who are supposed to be members of Toms robber band. Together they steal a skiff and float down the river several miles to a spot with a cave. Tom shows the boys a hidden room in the cave which they make their robber headquarters.

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Tom then reads them an oath that he has written, taken mostly from robber books and pirate stories. The boys argue over what Huck Finns role in the gang will be, because Huck does not have a family for them to kill in case he reveals any of the gangs secrets. Huck finally offers them Miss Watson in place of his real parents, and the boys then sign an oath in blood to join the band. Tom is elected the captain.

Tom explains that as robbers, they will only attack carriages and take the stuff inside. The men will be killed and the women will be brought back to the cave. He also mentions that they will ransom some of the people, because that is what they do in books, although he has no idea what ransom means. After that, all the boys agree to meet again soon. They return home exhausted and Huck climbs into bed having muddied up his new clothes, and feeling dead tired

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A Japanese American poet, novelist, and nonfiction writer, Mori was raised in Kobe, Japan, and inspired by her mother and grandfather, began to write in both Japanese and English at an early age. These two people in my family gave her the idea that writing was something we did everyday or even every week with enjoyment. As a young girl, she learned numerous ways to be creative, including drawing, sewing, and writing, from her mother and her mother's family. From those family members, Mori says "I came to understand the magic of transformation, a limitless possibility of turning nothing into something." (Mori).

At age 1, Mori's life changed completely, she was devastated when her mother committed suicide. Her father remarried one year later, but the household was not a happy one, and Mori looked for ways to stay away from home. Eventually, she moved to the United States to attend college, receiving her bachelors degree from Rockford College and a masters and Ph.D. from the University of Wisconsin.

Mori's writing grows out of her personal experiences, but she doesn't always write exactly what happens in her own life. "I think that the best thing about being a writer is that we get to moke up things and tell the truth at the same time," she says (Mori). Since she received her doctoral degree, in 184, Mori has taught creative writing and has published fiction, poetry, and essays. Much of what she write is based on the things she knows. For example, she wrote about growing up in Japan, being a runner or a gardener, certain feelings she had as a teenager about wanting to be honest and wanting to be liked. But my novels are more about what could, might or even should have happened, not about what did happen in my real life. All the characters are reflections of some aspect of herself, but none of the characters are strictly herself. She thinks that the best thing about being a writer is that they get to make up things and tell the truth at the same time.

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She did not write about my experience of growing up in Japan until she was in graduate school. There, she first wrote a story about an old woman, someone like her grandmother, having a birthday after her husband and some of her children had died. She wanted to find out, through writing, what it might be like to be she grandmother or someone like her, how an old woman might find moments of joy even in her otherwise lonely life. That story became the seed of what later developed into Shizukos Daughter. She saw the novel at first as a collection of short stories about three women--a daughter, a mother, and a grandmother--in a particular family somewhat like my own. She did not write the stories in a chronological manner. She first wrote a story about the grandmother, which turned out to be the last chapter, then a few stories about the daughter, a story about the mother, and then some more about the grandmother. A few years later, she filled in the gaps, developed the characters more consistently, and turned the collection into a novel.

Her first novel for young adults, Shizukos Daughter (1), was followed by a collection of poetry, Fallout (14). In Moris well-received memoir The Dream of Water (15), she travels back to Kobe to make peace with her mothers suicide and to visit the family she left behind. That same year she published her second young adult novel, One Bird (15). Polite Lies, essays about her life as a Japanese American woman in the Midwest, was published in 18. Stone Field, True Arrow (000) marks her first book of adult fiction and relates the story a middle-aged womans awakening after her father dies in Japan. Mori is currently a Briggs-Copeland lecturer in Creative Writing at Harvard University

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Perhaps the greatest character portrayed within the book is that is Topsy, the slave child who has been mistreated and belittled so harshly that she has become incapable of even viewing herself as good. Having come from an environment in which she is daily beaten and starved, she comes into the St. Claire household, incorrigible, constantly into mischief and frequently the focus of negative attention. It is through her own surprisingly insightful comments that the true heart of the matter lies. Many of those who object to slavery in their intellect, still embrace it in their perceptions and daily lives. Indeed, the generational curse of deep seated, unadmitted hatred of Topsy is alive and well and living within many of our hearts even today, regardless of our own heritage.

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